Splinter Cell (2004)

They appear well equipped, too. I really like their replacement for the Uzi, the Tavor "Bull Pup" Assault Rifle, made by Israel Military Industries. It comes in a few different designs, each one suited for specific needs. One of the men shows me his weapon and says it's the Micro T.A.R., which is uniquely configured for security forces and special missions. They use a 30-round magazine of standard NATO 5.56mm ammunition.

Captain Weiss hands me a cell phone and tells me to call the kidnappers' number. He says the phone is untraceable just in case they try to figure out where I'm calling from. I bring up the stored number on my OPSAT and dial. I get a recorded message from a man with a heavy Russian accent.

"Mr. Fisher, if you are in Jerusalem, please indicate so at the sound of the beep, and we will be in touch with you shortly."

When I hear the tone I say, "This is Sam Fisher. I'm not in Israel yet but will be tomorrow morning. I'm traveling from a great distance. I will call again before noon and will await your instructions. Please keep my daughter safe." I disco

"We wait until nightfall. The team will deploy around the warehouse, out of sight," he says. "I understand you have a subdermal implant for communicating with your superiors in Washington?"

My, my, nothing's sacred in the intelligence community. "That's right," I say.

"We will have your people configure the transmissions so the team can hear you. I've already spoken to your colonel about this. That way, you can call the shots should you be required to lead the assault team into the building."

"That's mighty accommodating of you."

Someone provides kosher turkey sandwiches for us, and we spend a few hours in the captain's Lexus. We talk about the security situation in his country and the different plans of attack for combating terrorism. Mid-evening I take the opportunity to grab two hours of sleep. When I wake I find it's just after ten o'clock. In the meantime, Carly St. John has provided me with the warehouse blueprints via my OPSAT. I now have a complete map of the building, showing entrances and exits, corridors, and rooms. I'm itching to get going, but I decide to wait two more hours, hoping to catch them in their pajamas. Finally, at midnight, I tell the captain it's time to move.

"You know they're probably setting a trap for you," the captain says.

I shrug. "Trap, Shmap. Let's go."

"You ready?"

"Absolutely."

He gives the order and we move out in separate unmarked civilian cars toward the site. A minute later we arrive at a crossroad. The captain points to the new road and says, "It's that way about a mile. We'll get out here and go the rest of the way on foot."

The drivers park the cars behind various empty buildings, and we proceed to hike through undeveloped terrain off-road. There's not a lot of trees and natural cover here. Israel is an arid country and it's hot and dry at this time of year. For a Mediterranean destination, I've never found Israel to be particularly pretty. I guess it is if you like sand and rocks. The land is fertile enough, although I can't imagine why it was once considered the "Promised Land."

I separate from the Shin Bet as we get closer to the warehouse. I want to make the first approach on my own.

"Mr. Fisher?" It's the captain's voice in my ear. "Do you read me?"

"Loud and clear," I say, pressing the implant.

"There are three cars parked in the back of the warehouse, under a tarp. A Ferrari, a Jaguar, and a Chevy Cavalier."

"Then there's probably not too many men inside."

"That's what I'm thinking, too."

I can now see the warehouse, but I'm well hidden behind some rocks, fifty feet away. I know the Shin Bet have surrounded the building, but I see no signs of them. These guys are good.

The building looks as if it hasn't seen a human being in thirty years. It consists of a large space that takes up most of the structure. From Carly's blueprints I understand there's a second floor with a window. This second floor is more of a "loft" that hangs over a third of the first floor space with a stand-alone staircase co

"How do you want to handle it?" the captain asks.

"I'm going to find a way in, probably from the second floor. Stand down until I give the order. Then storm the place with everything you've got. Until I find Sarah and make sure she's all right, I don't want them to have any indication that you're out here."

"Understood," he replies.

I emerge from my hiding place but stick to the shadows. There are no lights on around the building so that's a plus. The first thing I do is a quick recon around the warehouse. The front door is a rusty steel job with faded paint and lettering. The few windows are painted over. In the back I find the three cars covered by a tarp and another steel door. Up high I see another window, one that's not painted over. That's my target.

I take my cigar holder and rope and fashion a grappling hook. I sling the thing around and toss it, catching it onto the roof on the first try. I give it a tug and then climb up the side of the building. When I reach the window I peer inside.

I see the loft; it's full of junk and extends maybe thirty feet. A lone lantern burns on the floor next to an empty bedroll. I can't discern anything beyond the edge of the loft, mainly because of the junk piles. The main thing is that no one is there. Good. I wrap the rope around my waist so I can use both hands as I hang by the window. I draw my Five-seveN, flip on the T.A.K. laser microphone with my thumb, and point the barrel at the glass. The square in the center of the camera screen doesn't turn red--it's not picking up any sound. Excellent. I switch off the T.A.K. and holster the pistol, then try to raise the window. It doesn't budge. The decades-old paint has hardened, but the window itself doesn't appear to be locked. I draw my combat knife and chisel away on the window edges, finally getting to where I can stick the blade through the slits. I sheath the knife and try the window again. This time it moves a little. I rearrange myself so I can put my weight into the very center of the top windowsill and push it up with a forceful thrust. The window gives way and slides open, a bit too noisily for my comfort. But it's enough for me to snake through. I unwrap the rope from my waist and go through the window, feet first.

Once I'm inside, I carefully move to the edge of the loft and look down. It's a wide-open, empty warehouse except for a lot of junk stacked along the sides of the room--mostly old appliances like refrigerators and stoves. I see a couple of doors leading to other parts of the building.

There's no one around.

A set of unsupported wooden stairs leads down from the loft. I start to take them, but they creak loudly. Instead I leap off the steps and land on all fours with a quiet thud. One single noise is better than a series of horrible creaks.

I focus on the door I know leads to a series of rooms in a corridor. Once again I take the Five-seveN and flip on the T.A.K. I aim it at the door and this time the screen turns red. Somebody is talking behind the door. I creep to the wall, flatten myself, and listen.

The voices are muffled, but they're speaking in Russian, that much I can tell. I consider storming through the door and blasting the hell out of them, but before I can act, I hear footsteps approaching.

The door swings open, hiding me behind it. Two men emerge and walk toward the middle of the warehouse. They've got AK-47s around their shoulders.